Artist Stephanie Syjuco's site-specific, multimedia installation transforms images of renowned works from the Carter’s collection and investigates narratives of national identity. Stephanie Syjuco: Double Vision reconsiders mythologies of the American West and reveals how these works and their presentation within a museum can perpetuate colonial lore.
Darryl Lauster’s Testament, a bronze obelisk, asks the viewer to be a critical reader of information and to look at the function of text in different contexts. Combining pop culture references with quotes from U.S. foundational documents, Testament questions what we know about our nation’s history and promises.
Art Making as Life Making offers a glimpse of life in a 1960s print workshop. While at the Tamarind Lithography Workshop in Los Angeles, Akagawa collaborated with many leading artists, printing their lithographs and creating his own. The exhibition features more than 40 works from the Carter’s collection of Tamarind Workshop prints.
When you enter the Museum, take a moment to marvel at James Surls’ otherworldly sculpture Seven and Seven Flower, a complex portrait of family, land, and self.
Commissioned for the Carter, this large-scale, site-specific installation looks like frozen, Technicolor vapor. Created out of more than 80 miles of multicolored thread, Plexus no. 34 draws attention to the majestic architecture and natural light of the Museum’s Atrium.
The Carter houses one of the great collections of American art, from historical landscapes captured on canvas to city streets seen through the lens of a camera. We’re regularly changing out these works, so each time you visit, you know you’ll encounter something you haven’t seen before.
